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183Re: [Authentic_SCA] Vocal music and Languages

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  • stephen higa
    Mar 5, 2001
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      > Absolutely and unequivocably, perform a piece in its original language.

      Wow, how can I argue with that? :)

      > But a really excellent performer
      > can interpret the music and carry across the full sense of emotion without
      > changing the words. And then, even if people can't fully comprehend the
      > lyrics, they will understand the _sense_ of the song, which is fully as
      > important.

      That is my hope, but one can sometimes get bored with a foreign-language
      song if it's longer than a few verses and the emotion varies little
      throughout. That's why I love doing The Poema de Mio Çid (El Cid) and other
      epics like Beowulf because there are so many varying emotions one can play
      on. Ha ha, you should've heard me screaming "denme mis espadas" (give me
      back my swords!)...I'm sure all adjacent camps were wondering "what on
      earth?" ;)

      > He hasn't fully converted me to using an Elizabethan accent,

      Soon, my pretty... ;)

      > And you may be surprised at how well your
      > audience picks up on what's being sung.

      Yes, Romance language pieces are ideal because words can be recognized by
      the audience when properly emoted...

      > I haven't had more than
      > elementary-school Spanish, and yet I've never missed a word of Moshe's
      > stunning rendition of "El Cid."

      Really? Not a word? ;)

      > The two of us often do a drinking song
      > from the Carmina Burana, which is in medieval Latin, and it's never failed
      > to be a hit among our College and at arts competitions.

      Oh yes, I'd forgotten about that! I suppose it's because we sing it so
      lasciviously that people can't help but be amused that period songs can be
      so interesting. :)

      > All the same, I appreciate immensely the efforts of anyone who tries to be
      > even a little authentic in their music! What really bugs me is refusal to
      > even attempt it, like this guy who once wandered into our bardic circle and
      > said, "I don't play period music, that stuff's boring."

      Honestly, though, that was the incident that started my crusade for period
      music.

      > My personal favorite group is the Boston Camerata; they're
      > done a superb Carmina Burana, gorgeous Cantigas de Santa Maria, and a truly
      > lovely Elizabethan album featuring works by Dowland, Campion, Byrd, Morley,
      > et al.

      Ah, the Boston Camerata folks are my pantheon! Anne Azema (the main female
      vocalist) is a GODDESS. I'm not kidding, check out their recordings. Even
      if they're doing non-period music (like 19th c. American folk hymns and
      spirituals, or Shaker songs) the performances are top-notch, as is the
      research. Joel Cohen (the director) also directs another ensemble, Camerata
      Mediterranea, dedicated to the exploration of the early Mediterranean
      repertoire.

      My favorite medieval music ensemble is Altramar. They have two excellent
      programs of medieval tri-cultural Iberian music ("Iberian Garden"), and an
      excellent album of medieval Celtic music ("Crossroads of the Celts"). the
      liner notes are just as enjoyable as the music--they really do their
      research and are incredibly intuitive in their performance choices. Let's
      see, who else...Sinfonye and the Dufay Collective, Terra Nova Consort...


      Moshe
      --------------------------------------------------
      Qu'er non es grazitz lunhs mestiers
      menhs en cort que de belh saber
      de trobar -- qu'auzir e vezer
      hi vol hom mais captenhs leugiers
      e critz mesclatz ab dezonor.

      --Guiraut Riquier, 1292
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